One Long Extravaganza
All opinions in Darryl’s blog are his own and may conflict with an official review published on Theaterscene.net.
A native New Yorker, Darryl Reilly graduated from NYU with a BFA in Cinema Studies. For the Broadway League, (formerly The League of American Theatres and Producers) he developed, and for five years conducted their Broadway Open House Tours, which took visitors through The Theatre District and into several Broadway theaters. He contributed to Broadway Musicals Show by Show: Sixth Edition (Applause Books). Since 2013, he has reviewed theater, cabaret, and concerts for Theaterscene.net.
Popular Articles
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I want to be clear. "The Music Man" is such a masterfully written musical that making some changes here and there can’t really ruin it; but changes are not needed in this show and they certainly don’t help. I believe in the old saying: “If it ain’t broke, don’t fix it!” I also believe, as Tommy Tune once told me years ago in discussing a different show, many producers and directors feel a need to tinker with shows, making changes for the sake of making changes, even when the wiser choice would be to simply leave things alone. There’s just that desire to “improve” things, whether or not the changes actually improve anything. [more] -
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Random Articles
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The Sarasota Ballet, under the direction of Iain Webb, a former leading dancer with the Royal Ballet, has, to the benefit of the dance world, been collecting works by the British master choreographer, Sir Frederick Ashton. Even Ashton’s artistic home base rarely performs his work, despite the fact that that troupe’s elevation from Sadler Wells Ballet to Royal Ballet was largely due to Ashton’s efforts. (The troupe’s repertory also includes works by Ashton’s contemporaries, such as Antony Tudor, Dame Ninette de Valois, Agnes de Mille and Michel Fokine.) [more] -
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